Ultimately, charm prevails. Enchanted April can be thought of as "Shirley Valentine" in quadruplicate, with better clothes. You won't see a more exquisite, more civilized feel-good movie this year. [7 Aug 1992, p.32]

It'll make a natural double-feature repertory-house companion to The Player for years to come. It's filled with humor that has paid its dues. [21 Aug 1992, p.38]

The only thing that keeps Cool World from imploding is that Bakshi turns it into a series of animator's riffs, with little explosions of toon action erupting like video game novas into the foreground of the story that isn't happening. [10 Jul 1992]

German director Roland Emmerich's action sequences are terrific and funny. [10 July 1992, p.37]

Gas Food Lodging is a film about nourishment on a financial and emotional shoestring. It's a delight. [19 Sept 1992, p.29]

As anyone who saw Pelle the Conqueror remembers, August is great with landscapes, but perhaps because he was telling Bergman's story here instead of his own, he seems on this occasion too reverent. Considering the fierce emotions that are the film's subject, The Best Intentions is too hushed, decorous, solemn. [14 Aug 1992, p.43]

The film has mood and feeling, but it can't take the material that final mile into the inexplicable. [10 Jul 1992, p.35]

The result is a megabudget "House Party" -- amiable, colorful, filled with glamour and style. [01 Jul 1992]

A League of Their Own may not boost its material into the level of pop myth as, say, last year's great female buddy movie, "Thelma & Louise," did. It's a bit too concerned with being likable to make that kind of bold leap. But if A League of Their Own doesn't knock the ball out of the park, it's a clean hit, with extra bases written all over it. [1 July 1992, p.41]

The script is too eager to rush to the high-concept payoff without providing dramatic or characterizational underpinning. [26 June 1992, p.34]

The new film is simply more confident, more idiosyncratically dark, weird, gnarled and twisted than "Batman." And because it's more obviously permeated by Burton's style and sensibility, it's also more fun. [19 June 1992, p.47]

Housesitter is the kind of sweet little user-friendly concoction that until very recently defined the term summer movie. It won't solve the environmental crisis or raise your IQ, but neither is it likely to promote brain damage, which immediately puts it miles ahead of, say, the presidential race. And, needless to say, it's funnier. [12 June 1992, p.29]

This formula comedy could have been a disaster, but during their short-lived career as a comedy team, Kid 'N Play seemed to have picked up a few pointers. They're not Abbott and Costello, but that's not what's called for here - what's called for is a fresh face on the formula, a young and easygoing team that really believes what it's doing is funny. [05 Jun 1992, p.29]

There's no comic edge at all to Sister Act. It's all Whoopi and the three sisters, battling plastic writing and chintzy production values, convincing you that filmmaking this pedestrian ought to be declared the eighth deadly sin. [29 May 1992, p.34]

Far and Away is a throwback to the handsome but stodgy historical romances Hollywood used to make, and it can at least be said that it's more ambitious than most of what we'll see this summer. [22 May 1992]

While the film grabs us on cue with its sudden strikes that end with blood dripping from the monster's dragon fangs as it zips back into the dark, it's also true that predictability robs the thrust and counterthrust of the purely visceral impact it once had. The monsters just aren't that scary anymore, and so the film mostly just sits there, gloomy and inert, sunk in exhausted myth, looking and sounding Wagnerian but feeling underpowered despite its diversionary moves. [22 May 1992, p.29]

This one, a comic vacuum, is close to amateurish. [22 May 1992, p.32]

Von Trier's visuals are stunning enough to almost conceal the hollowness of his elliptical story. [03 Jul 1992, p.42]

Lethal Weapon 3 is a big, dumb, noisy, comic strip of a movie that begins and ends in flames.

Poison Ivy isn't that much of a film. But part of its charm is that it doesn't pretend to be. It is, however, a great showcase for Drew Barrymore, as bad-news jailbait. [26 Jun 1992, p.29]

Red blood, white sands and a blue Corvette are the real stars of "White Sands," the slick new Roger Donaldson thriller that's more about its plot convolutions than its characters, and more about its visuals than either. [24 Apr 1992, p.85]

Although expertly directed by Bill Duke, Deep Cover becomes the cinematic equivalent of a drive-by shooting, posing as community uplift. [15 Apr 1992, p.91]

What keeps the film going, and helps it keep its comic tone, is the constant threat of cataclysm - and the deadpan Buster Keaton charm of the ever-responsive Pinon as he combats the giant Rube Goldberg meat-grinder that the house, in effect, is. [17 Apr 1992]

White Men Can't Jump isn't perfect. But most of the time it's a lot of fun. Its funky moves are going to put more smiles on more faces than any regular season or tournament basketball TV throws at you. [27 Mar 1992, p.25]

The Cutting Edge plays like the kind of date movie written by a computer, and not a very smart one...It makes shaved ice look deep. [27 March 1992, p.29]

Paul Verhoeven's Basic Instinct is a slick, trashy, blatantly manipulative thriller that you won't stop watching once you start. [20 Mar 1992, p.25]

Onstage, Noises Off was a riot. On film, it's in the salvage business, snatching a few vagrant laughs from a reworking that otherwise sinks like a failed souffle, reminding us yet again that farce onstage and farce on film are two fundamentally different constructs. [20 March 1992, p.30]

What makes [Kopple's] impassioned "American Dream" unforgettable is its nonstop empathy with good people worked over by Reaganomics, reminding us that people fighting the good fight don't always win.[27 Mar 1992, p.28]